[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest                Sunday, 7 March 1999        Volume 06 : Number 476

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From: "Jean D Parus" <ltz797@dreamscape.com>
Date: Sat, 6 Mar 1999 08:58:11 -0500
Subject: [Baren 3394] Re: Paper 

Ruth? Hi! I am interested in hearing how you print with an etching press
.... just got a small one in 98. I noticed that a lot of people do seem to
print with a press & was wondering how ... thinner blocks? veneer? Go girl!

Jean Parus

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 6 Mar 1999 09:32:57 -0500
Subject: [Baren 3395] Re: Paper

Ruth
I have an etching press and do all of my woodblock prints with a Baren.  I
have an idea of the process of printing woodblocks with a press but would
like to have your process.

Jeanne       studiojnc@prodigy.net

Thanks

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sat, 6 Mar 1999 07:26:31 -0800
Subject: [Baren 3396] Re:   Baren Digest V6 #475  

Ruth,
I, too, am interested in your technique of printing woodblocks in an etching
press.  Do you use runners or start with the roller on the wood?

Jean Eger

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From: Cucamongie@aol.com
Date: Sat, 6 Mar 1999 10:39:51 EST
Subject: [Baren 3397] Exchange Prints 

Just wanted to tell everybody I got my exchange prints last night - what a
beautiful collection - great to see the variety of techniques, subject matter,
etc. - very humbling - I feel very honored to have these prints and can't
believe that one of my prints is somehow stuck in between this collection, and
look forward to the 2000 exchange - (although I'm a little nervous about how
many people might be involved - will we have to make twice as many prints this
time??) - also, yesterday I received David Bull's videotape - I wish I knew
Japanese but it was still great to watch - Dave is a real master - also, since
we've been talking about it, you see the rubbing of the brush on a real
sharkskin - a really big one too!  Lynita, you're next on the video list, so
you're in for a treat soon - 
All the best to everyone & my condolences to those
who were not in this year's exchange-

Sarah

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 6 Mar 1999 10:50:40 -0500
Subject: [Baren 3398] Portfolio

Dear Barens

The lack of Baren mail lately has me wondering. I think that we are all in
awe of the recent Portfolio that we have received. It left us a little
speechless!!
It was such a fantastic gift. I had such a time , carefully going through
each "page" and studying all the different techniques. The Portfolio itself
is quite handsome and is right at home on my coffee table for all to see.
i had my frame already and last night put "Warm Spot" up on my wall facing
the sofa and had a time admiring the print by John Amoss. I plan to change
the prints every month.
Thanks to everyone for the very "professional prints", thanks to Dave for
arranging the event and to James for getting it all together.
OK, when is the next one, I am ready!!!

Jeanne

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From: Ruth Leaf <leafr@ecom.net>
Date: Sat, 06 Mar 1999 08:40:44 -0800
Subject: [Baren 3399] Printing relief prints with a press 

I'm much impressed with the trouble people go to to print the watercolor
woodcuts.  However , I love to design and cut the wood but I find the
printing a chore.  I'm greatful to be able to register and print
easily.  The things you need are an etching press with a roller that
will go up as high as your woodblock.   The second thing you need are
strips of wood the same height as your block.  These go under the
rollers on either side of the block.  Leave enough room for your paper.
I also use old mat corners taped to the press around the block as a
register. The rest is a piece of cake.  Tape your paper to the press bed
and flip it  away from the bed.  Place your inked block in your register
marks, place the paper over the block.  I use chip board or any cheap
board to place on top of the paper.  Run through the press.  Remove the
wood, replace with second block or third or fourth  block and print.
You will find that the taped paper  and the register marks  give you a
perfectly registered print. Do let me know if I've left anything
out....Ruth

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From: woodcuts@concentric.net (D. Joseph/R. Sexauer)
Date: Sat, 6 Mar 1999 10:05:03 -0800
Subject: [Baren 3400] Re: Welcome Ruth! 

Dear Ruth Leaf -

We have about 7 copies of your invaluable book on intaglio at our
University (CSULB) library, & I always place some of those at the reserve
desk at the semester's start. The "What Went Wrong & Why" sections are a
godsend for my students. I heard a rumor that it is back in print in
paperback form. True?

Unfortunately, as the computer/graphic design departments gain in
dominance, printmaking departments are being phased out & so we remain
about the last bastion in Southern California. As you know, the other Ruth
has pretty much eliminated it at USC, and Anne Marie was let go at UCLA a
few years back. On the bright side, we have been able to capture another
litho press (from Loyola Marymount) & stones (from various defunct
programs) for our shop. But I digress....

Is your pre-prepared white ground formula still available? We were getting
it through Daniel Smith for a time, but I don't believe they carry it any
longer.

April, thanks for the kind words about my print. I did receive the
portfolio (thank you Jim!) but have been so overwhelmed with work that I
haven't as yet had a chance to peruse throughly. There did appear to be
some superlative efforts involved.

More when I can get out from under it.

Roxanne Sexauer, who also uses an etching press (made by the recently
quashed Charles Brand company) to print woodcuts. - As my hero June Wayne
says: "We are all but whooping cranes."

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From: agatha <agatha@uswest.net>
Date: Sat, 06 Mar 1999 10:21:23 -0800
Subject: [Baren 3401] Re: Printing relief prints with a press 

i use a process similar to this one, except i use a wood frame three inches
around that frames my plate exactly, (for example, with an eleven by
fourteen plate, make the hole in the frame eleven by fourteen inches).  the
idea for using the matte corners is a good one, however, i usually just hold
the frame as it's going through the press to prevent sliding.  the other
thing that makes registration easier for me is to put the paper underneath
the frame, and hold onto the frame while changing from one block to
another.  the blocks go face down onto the paper.  i'm sure this is not the
orthodox method, but it works very well for me, and my registration has
improved since i started doing it this way.  anyhow...

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From: "Ray Esposito" <brassring@brassring.org>
Date: Sat, 6 Mar 1999 14:07:29 -0500
Subject: [Baren 3402] slide show 

Dave
I was wondering what all the comments concerning a "slide show" about
thinking people were inadvertently thinking of the Who Is Baren section.  I
just stumbled on the slide show.  What a great page!!!.  Is the applet
availabe for a charge or is it free.  I think it would be great on the
Society's page to show pictures of the kids.

Cheers
Ray

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From: David Bull <davebull@woodblock.com>
Date: Sun, 07 Mar 1999 08:11:41 +0900
Subject: [Baren 3403] Applet info .. 

Ray wrote:
> ... all the comments concerning a "slide show" 
>  What a great page!!!.  Is the applet availabe for a charge or is it free. 

The applet is indeed free.  Just go to:
http://www.yo.rim.or.jp/~nakagawa/WWW/IMG/ImageChanger-e.html

That page is English, and gives comprehensive instructions on how to
download and use the Applet (which will do a lot more than you see there
in my example).

***

Ruth Leaf wrote:
> Do let me know if I've left anything out...

Welcome to the group Ruth.  It sounds as though you have a whole lot of
friends already here!

I have no experience at all with the kind of work you are doing, but I
am quite curious about one particular point.

How do you handle the inevitable warpage and twisting of the blocks?  It
would seem to me that even the slightest warping of the wood would make
such a block unusable in a press.

Dave

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From: James G Mundie <jimandkatemundie@juno.com>
Date: Sat, 6 Mar 1999 20:18:42 -0500
Subject: [Baren 3404] printing with an etching press; that smell of oil 

Ruth Leaf wrote:
>I/m under the impression that because people who do the hanga prints
>deal with wet paper that woodcut artists using oil wet paper also.  I
>print color woodcuts with  two or more blocks on  dry torinoko paper
>with no registration problems.

Ruth (welcome to [Baren]), somebody asked about this a couple of days
ago.  Actually, I print in oils on dry paper, too, as do many others on
this forum.  I for one am quite interested to hear about your use of an
etching press for printing woodblocks.  Andrea, you are using a press,
too, right?

I've never really tried to do such a thing myself because most of my
boards (pine planks) tend to warp slightly and I'd not split them under
pressure.  But know that I have my own press I'm game to give it a try.
Question:  how do you etching press users keep the blankets from causing
a deep embossment on the paper?  I'm assuming you remove at least one of
the blankets and insert something like a tympan sheet between to create a
soft but stiff barrier between block and roller.

***
Julio wrote about the exchange prints:
>- The oil prints smell like.......oil paint (yipes....what else 
>could they smell like ???)

The one that I noticed having the greatest such odor was the print by
Jeanne.  That's not to say your print stinks, Jeanne! ;-) I only mention
it because Jeanne used actual tube oil paint rather than relief printing
ink.  You'll notice the smell is a bit more potent.  Karla's print seems
to give off a heady odor of ink too, which I think has something to do
with the print having been made on such a slick-surfaced paper.  The ink
doesn't penetrate as deeply into the paper, seemingly leaving more above
the surface.  There I go making up science, but I suspect if this has any
effect on the 'evaporation' of the ink vapors that they will also
dissipate more quickly and that tell-tale ink odor won't last for long.

Mise le meas,
James Mundie, Philadelphia USA

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From: "Ray Esposito" <brassring@brassring.org>
Date: Sat, 6 Mar 1999 22:09:06 -0500
Subject: [Baren 3405] prints  

After looking through the prints for the umpteenth time, I get more
impressed.  The only complaint I have is some of you can't write worth a
damn.  I can't read some of the signatures and I don't think it is old age.
:-))

I have many questions but for now my first is directed at Hideshi.  I loved
the paper - glassy smooth on one side and rough on the otehr.  What kind of
paper is it?  I have a lot of otehr questions but they can wait until
everyone has their folios.  Love the box.  This should be standard for all
upcoming exchanges.

Cheers
Ray

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From: Mariten@aol.com
Date: Sat, 6 Mar 1999 23:03:10 EST
Subject: [Baren 3406] Re: Presses 

From Maria in LV
I would welcome some info on etching vs combination presses. Does a
combination press get its name because you can switch off from a roller to a
scraper bar? I eventually would like to do some lithos again, especially now
with the new non-toxic techniques. If I buy a press, I would like it to be
able to handle both the woodcuts I'm in love with and the lithos I can't let
go off.
Thanks, oh well seasoned ones : )

I can't wait to see the prints on the Pedia; they're gonna be posted, aren't
they, Dave?
Health to all,
Maria

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From: Hideshi Yoshida <dodoland@silver.plala.or.jp>
Date: Sun, 7 Mar 1999 21:02:39 +0900
Subject: [Baren 3407] Re:  prints 

Hello Ray ,

You wrote ,
>I have many questions but for now my first is directed at Hideshi.  I loved
>the paper - glassy smooth on one side and rough on the otehr.  What kind of
>paper is it?

 This paper is the best for my work . Hosho is not good enough for my prints .
I haven't heard that other print makers are using this paper  .
The paper is layered "gampi" and "cotton".
If you want to buy it ,you can order  via Fax .
The number and the paper shop's adress is ;

PAPER NAO

4-37-28, Hakusan, Bunkyo-ku
Tokyo,  JAPAN      112-0001
Tel: 03-3944-4470  Fax: 03-3944-4699

The paper code number is RG-15 (brown) 1,200 yen /1M
RG-9 (white) 900 yen/1M and the width is about 96 cm.
You can also order sample of every paper the shop handles, it costs 3,000 yen
but it doesn't include RG-15 and RG-9.

If you have more question, please ask me.

Sincerely yours ,
Hideshi

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End of Baren Digest V6 #476
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